I have been approached now and again about sitcoms, but, with very few exceptions, one simply needs to move to L.A. for at least a year or two these days if one wants to develop a series - which is what writing a pilot means. I've also been approached about writing episodes for sitcoms, but in order to do that one actually has to watch sitcoms. . . . Life's too short for television, and I don't what it on my actual gravestone, HE STARED AT A BOX FOR 10,000 HOURS.

I have been approached now and again about sitcoms, but, with very few exceptions, one simply needs to move to L.A. for at least a year or two these days if one wants to develop a series - which is what writing a pilot means. I've also been approached about writing episodes for sitcoms, but in order to do that one actually has to watch sitcoms. . . . Life's too short for television, and I don't what it on my actual gravestone, HE STARED AT A BOX FOR 10,000 HOURS.

With my plays, when the lights go down, at least the audience isn't thinking, 'Oh, God, two more hours of this.

I think everything should be in verse. 'The New York Times' should be in verse.

Learning to write for the theatre is learning to be a human being, because the theatre by its very nature makes you deal with other human beings.

Necessarily, I'm always involved in casting, as any playwright is, because the whole process of putting on a play is a collaborative, organic effort on the part of a bunch of people trying to think alike.

All reviews should carry a Surgeon General's warning. The good ones turn your head, the bad ones break your heart.